Identifier: frencharchitects00dilk (find matches)
Title: French architects and sculptors of the XVIIIth century
Year: 1900 (1900s)
Authors: Dilke, Emilia Francis Strong, Lady, 1840-1904
Subjects: Architects Sculpture, French Sculptors
Publisher: London, G. Bell and sons
Contributing Library: Getty Research Institute
Digitizing Sponsor: Getty Research Institute

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dom from exaggeration.The lips of Love in the group of LAmour menacant seemactually to breathe the words Mefiez vous, as he lifts a warning 1 Musee de Louvre, No. 673. The plaster model was exhibited in 1745, themarble in 1755. A version of this not very excellent figure was in the collection ofla Live de Jully, Courajod, Journal Duvaux, t. i., pp. cclxxxi, cclxxxv. See alsodArg., Voy. Paris, p. 157. Falconnet also executed for la Live de Jully La douceMelancolie, Salons 1761 and 1763. Repeated in 1765. 2 No. 674, Sculptures T. M. Louvre. 3 Sculpture Francaise, etc., p. 221. 1 See p. 99, note 1.s No. 675, Sculptures T. M. Louvre. 6 Nos. 1215-1218, 1359, 1360, 1378, Cat. Beth. Gn. Three works of this classby Falconnet, a marble group from the Boy collection; a little nude figure from theMuseum of Lons-le-Saulnier, and the Venus in coloured wax from the Barbediennecollection, now exhibited at the Exposition retrospective de lArt francaise are fairexamples of the masters popular art. 106
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LAmour Mena^ant. By Etienne Falconnet.(Musee du Louvre.) finger, whilst his left hand steals slyly to the quiver full of arrows The « his side. School of Even greater success crowned the production of LHiver, a andmarble statuette on which no one could look without shivering, Etienneand which became an appropriate offering to the Empress of All net>the Russias, whilst a reduction was sent by the sculptor to SirJoshua Reynolds, who had the subject engraved on a gem andacknowledged the gift by sending to Falconnet an impression of themezzotint of Ugolino—left by Falconnet at his death to Levesque.1 It is a testimony to the force of that passion for the pleasuresof life which was the leading characteristic of the art of theeighteenth century, that Falconnet should have succumbed to itscontagion, for whenever he came in contact with new elements ofexperience, he had always appropriated such as tended to strengthenthat austerity, which, being the original bias of his character, hadbe

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